A formulaic boxing tale with just enough heart to make it worthwhile.

Chuck introduces us to its titular character through an opening narration that feels like it belongs more in a Scorsese film than it does in a traditional boxing movie. Filled with a happy-go-lucky vibe and an admirable innocence, the narration itself manages to perfectly capture the attitude of its protagonist. The only problem is that while Liev Schreiber’s Chuck Wepner narrates a majority of the action in the film, the character’s commentary rarely ever brings any new kind of information to a scene or much warrants its existence. The same can be said for Chuck as a whole, which yearns to be as inspiring as its real-life character, yet only ever manages to bring slightly more to its cliches and been-there-done-that elements.

Directed by Philippe Falardeau, Chuck tells the true story of “The Bayonne Bleeder” Chuck Wepner, a one-time contender for the World Heavyweight Championship in boxing, and who’s 15-round match against Muhammad Ali went on to inspire the plot of Sylvester Stallone’s Rocky. Approaching Chuck’s life as a stereotypical rise and fall story, Chuck follows its hero through the biggest highs and lows of his career, from his days of getting recognized on the street as being a competent boxer in the ring, to when people started referring to him as “The Real-Life Rocky,” a title which Chuck apparently wore with unabashed pride.

The biggest reason that Chuck succeeds in any way is because of the dedicated lead performance from Schreiber. Boasting an impressive weight gain and prosthetic work to make him look more like the real-life Wepner, Schreiber fully throws himself into this role with an energy that elevates everything else that’s happening in the film whenever he’s on screen. Luckily, that’s basically every scene in Chuck too, as the film spans a multiple-year-long period in Wepner’s life, from when he gets his title shot against Muhammad Ali, through some serious personal turmoil, and out the other side.

One of Chuck’s most admirable feats is how straightforward it is about trying to roll through that considerably large period of time, while trying to avoid losing any of its initial breakneck momentum or energy for the sake of its plot. Schreiber’s embodiment of Chuck goes a long way in making that possible, though the film’s editing and script often can’t live up to the work of its actors.

Other standouts include Elizabeth Moss, who plays Chuck’s wife, Phyllis, a woman genuinely in love with her husband and his fighting spirit, but who’s growing increasingly more tired of his extra-marital escapades. She’s the reason behind one of the film’s best scenes, when Phyllis unceremoniously crashes one of Chuck’s dinner dates with an adoring fan, taking the time to explain to both Chuck and the girl he’s with, why he’s there in the first place, and how it all comes from Chuck’s desire to be adored. Moss plays all of Phyllis’ scenes with the same intensity that has permeated throughout all of her other notable roles, so much so that the film suffers most evidently when Phyllis’ role in Chuck’s life eventually lessens as time goes on.

Ron Perlman and Jim Gaffigan show up in small supporting roles throughout as Chuck’s manager and best friend/confidant, respectively, who more often than not wind up feeling like negative influences on him. Maybe the only cast member actually wasted in the film is Naomi Watts, who despite having the makings of being a legitimately interesting character and brief moments of entertaining banter with Wepner, isn’t provided with enough screentime to craft a fully-realized person with such a limited amount of material.

The performances of the actors and the minimalistic style that Falardeau brings to the film all make Chuck better than it might have been with a less dedicated cast and crew. But even with that being said, the film never wows or shocks at any time, unrolling the events of Chuck’s life with often very little effort put into actually emphasizing the dramatic weight required to make any of it feel important. The film’s by-the-numbers script and leisurely pace keep it from truly standing out in any meaningful ways. Chuck may be about the man who inspired one of the greatest boxing films of all time, but it itself can’t quite measure up, no matter how badly those involved want to make you believe it’s a worthy contender.

The Verdict

Chuck doesn’t contribute anything new to the boxing drama that filmgoers haven’t already seen a hundred times before, but with a strong lead performance from Liev Schreiber and a dependable supporting cast, Chuck manages to bring the story of its protagonist to life with heart and respect. You likely won’t ever forget again who Chuck Wepner is, even if the film itself may not stay with you long after you leave the theater.